Christie’s charges a premium to the buyer on the H… 顯示更多

FROM THE COLLECTION OF P. STRUYCKEN When you own more than five paintings and you only have enough space to hang three of them, for an outsider it is the beginning of collecting. For, however it may be, two of the works must be stowed anyway. Like under a bed for instance. I can not remember this was the case with me. I do remember always having owned more than I could hang. Being an artist that never bothered me much. My own works were always piled up against a wall. And there was plenty of room for someone else's work. I never thought of collecting as such. The word only incorporates something systematic that reminds me of collecting stamps: a few of the series are still lacking! We have to fill the lines! An artist handles his works in a much more relaxed manner. It started during the Academy where I as a youngster got hold of some piece of painted cardboard from the daily produced heaps in the classrooms, usually a bit bruised and with pieces missing, with a still-life that you are attracted to. These pickings and stealings were always a bit rumpled, but I could not care at all. What appealed you can simply be seen on it. The privilege of any artist, and closely linked to the coming together of a work of art, is watching that what you are appealed to. You do that while making decisions in your own work, and you recognize this in the works of others. It is not just something vague, like when people say that they enjoy or like what they are appealed to, but it is exactly that what is urgently needed to become frost-nailed. Later on it all becomes more civilized. You trade works with colleagues, or you buy art. Collecting sounds far too detached. Because this given work of art also brings in another conception. Although these conceptions are not necessary anymore to make a next move in your own work, it is vital to ascertain of what colleagues produce and to measure yourself with another soul. The information of how a personality is reflected in a work and how he images his conceptions thus become very important. This is only partly conceivable. A good work can be recognized, but also asks questions and is closed at the same time. And this reticence, the inability to indicate in details the decisions and choices in a work, is very enjoyable. The work thus transforms into a being which can sharpen your intellect, with which you can quench your thirst or in which you can wander without finding the exit. Preferably works of a truly other sprit than your own work or those of kindred spirits. A work like this does not always have to hang on a wall. Sometimes a confrontation every two or three years, while cleaning up or searching through the by now immense pile of works, can be enough. It is only in that phase when art becomes a true joy and an unprecedented luxury. Works are now like music or books which you can consult now and then and which you can set aside. Or you suddenly decide to hang a picture again in a visible place, so you can get totally absorbed in it whenever you want to. A work seems to belong to you, even when you confine yourself with one quick glance a day. A work has now become a mental concept that you permanently carry with you and which is trusted and cherished. The quick glance is therefore a confirmation of all qualities, incomprehensible and familiar, and of the richness of intelligent visuality which can only be found in art. Sometimes one has to choose. For practical reasons like space or money. Then you will keep the dear works you still need to see in detail. Also to test them whether their mysteriousness still fits you or whether you used it up. You can part with the works of which the content has become too familiar. They can be sold to head for a new future. P. Struycken

Ad Dekkers (DUTCH, 1938-1974)

Drie evenwijdig oplopende banen

細節

Ad Dekkers (DUTCH, 1938-1974)
Drie evenwijdig oplopende banen
signed, dated and inscribed with title 'Ad Dekkers/1970' (on the reverse)
white painted wooden relief
120 x 120 cm.

出版

Carel Blotkamp, Ad Dekkers, Utrecht, 1981, p. 189, no. 145.

注意事項

Christie’s charges a premium to the buyer on the Hammer Price of each lot sold at the following rates: 29.75% of the Hammer Price of each lot up to and including €5,000, plus 23.8% of the Hammer Price between €5,001 and €400,000, plus 14.28% of any amount in excess of €400,001. Buyer’s premium is calculated on the basis of each lot individually.